Rock
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Phish remembered Phil Lesh during the opening concert of the group’s fall tour. Hours after Lesh’s death on Friday (Oct. 25), the jam band legends paid tribute to the late bassist with a cover of the Grateful Dead‘s “Box of Rain” at MVP Arena in Albany, N.Y. The performance marked the first time Phish has […]
Phil Lesh, founding member and longtime bassist for legendary rock outfit the Grateful Dead, died on Friday (Oct. 25). He was 84 years old.The news was announced on social media, with a statement that read, “Phil Lesh, bassist and founding member of the Grateful Dead, passed peacefully this morning. He was surrounded by his family and full of love. Phil brought immense joy to everyone around him and leaves behind a legacy of music and love. We request that you respect the Lesh family’s privacy at this time.” No cause of death was given at the time of publication.
As one of the co-founders and longest-tenured members of the Grateful Dead, Lesh was an essential part of a group that became synonymous with touring and live performance in rock music. With their singular instrumental interplay, their trademark iconography, their strong sense of community and their association with the hippie lifestyle, they became the forefathers of the jam band movement — with a fanbase of “Deadheads” as singularly devoted as any other band of the 20th century, enduring well into the new millennium.
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Born in Berkeley, California in 1940, Lesh grew up as a trumpet player and appreciator of avant-garde classical and free jazz. After short-lived studies at a variety of music schools, he met bluegrass banjo player Jerry Garcia in 1962 and was persuaded to join Garcia’s new rock band, The Warlocks, as their bassist — despite never playing the instrument before. The band, which also included Bob Weir as co-singer/guitarist with Garcia, Bill Kreutzmann as drummer and Ron “Pigpen” McKernan as keyboardist, was renamed Grateful Dead in 1965, after a phrase Garcia found in the dictionary.
Once he became proficient in the bass, Lesh’s playing style became heavily influenced by his musical interests in jazz and classical, giving his sound a melodic and improvisational quality rarely heard from the four-string in rock before. He came to be considered one of the instrumental innovators of his era, and his playing became as critical to (and identifiable within) the Grateful Dead’s sound as the group’s lead guitar.
By the end of the ’60s, the Dead had become one of the leading lights of the psych-rock movement coming out of San Francisco, known for their gentle, folk-influenced jams, their sprawling, blissed-out live shows, and their affinity for psychedelic drugs like DMT and LSD. (“We found that while high we were able to go very far out musically but still come back to some kind of recognizable space or song structure,” Lesh wrote in his 2006 autobiography Searching For the Sound. “I knew instantly that this combination — acid and music — was the tool I’d been looking for.”)
Lesh was not a principal singer or songwriter in the band, but his tenor often contributed to the group’s three-part harmonies, and he did write and sing a handful of original Dead songs. The best-remembered of those was probably “Box of Rain,” opening track to their classic 1970 album American Beauty — co-penned with lyricist Robert Hunter about Lesh’s then-dying father — which ended up being the last song played at the group’s final concert with Garcia in 1995.
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While the group sold steadily throughout the ’60s and ’70s — six of the group’s ’70s LPs reached the top 30 of the Billboard 200, with 1970’s Workingman’s Dead and American Beauty and 1972’s live triple album all being certified Platinum by the RIAA — they were a less-regular presence on the Billboard Hot 100, where they charted just four entries in their first decade, and none higher than the No. 64-peaking “Truckin’” in 1971. But the group’s live reputation kept them an essential part of the rock fabric well into the ’80s, and in 1987 they scored their lone pop hit with the catchy top 10 smash “Touch of Grey” — which along with its popular music video, featuring the band performing as skeletons, introduced them to a new generation of fans.
However in the late ’80s Garcia’s health began to falter, and in 1995 he passed away, with the band deciding to disband shortly after. Following the group’s dissolution, Lesh continued playing with offshoot The Other Ones (with original member Bob Weir, longtime percussionist Mickey Hart and keyboardist Bruce Hornsby), which gradually expanded its lineup to include more former Grateful Dead members and rebranded as The Dead in 2003. In addition, Lesh started Phil Lesh and Friends in 1999, with a rotating live and recording cast reinterpreting old songs by the Grateful Dead and some of their peers, and a decade later he created Furthur, another jam band co-founded with Weir.
Despite remaining busy with these Grateful Dead offshoots — as well as a handfull of 50th anniversary stadium shows put on by the band’s surviving members as the Fare Thee Well celebration — Lesh largely refrained from writing or recording any original songs in later years, preferring to keep the focus on his live show. “What’s the point?” he remarked to Billboard in 2012. “Nobody makes money on recordings anymore — at least the likes of us don’t. And the longer I’m in music the less time I like the idea of freezing music in amber so that it’s the same every time you play it back. I want it to be different every time, so I’m just not into recording, particularly.”
In 2017, Bass Player magazine ranked Lesh as the 57th greatest bassist of all time. “More an improvising composer than mere bassist, Lesh elevated the Grateful Dead from hippie jam band to an artistic ensemble capable of reaching heights of interactive ecstasy,” the magazine wrote. “Balancing roots with bouncy, offbeat upper-register figures, he could spin long motivic statements sometimes lasting over a minute, often steering the band into daring new harmonic territory.”
Grateful Dead will be honored as the 2025 MusiCares Persons of the Year. The 34th annual Persons of the Year benefit gala will be held at the Los Angeles Convention Center on Friday, Jan. 31, 2025, two nights before the 67th annual Grammy Awards at Crypto.com Arena.
Hozier earns his fifth straight No. 1 on Billboard’s Adult Alternative Airplay chart as “Nobody’s Soldier” lifts two spots to the top of the Nov. 2-dated survey.
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The song continues a streak that also includes “Eat Your Young” and “Francesca” in 2023 and “Too Sweet,” for 10 weeks beginning in May, plus his co-lead turn on Noah Kahan’s “Northern Attitude,” for five weeks starting in January.
With five rulers in a row, Hozier is one away from the chart’s all-time best run, held by U2, which strung together six from 2001’s “Stuck in a Moment You Can’t Get Out Of” through 2005’s “Sometimes You Can’t Make It on Your Own.”
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In all, Hozier now boasts seven No. 1s on Adult Alternative Airplay, first reigning with “Take Me to Church” in 2014. He also led with “Nina Cried Power,” featuring Mavis Staples, in 2018.
Hozier is the first soloist to score three new Adult Alternative Airplay No. 1s in a single year, thanks to “Nobody’s Soldier,” “Too Sweet” and “Northern Attitude.” Only two groups previously achieved the feat, dating to the chart’s January 1996 launch: Coldplay with “Violet Hill,” “Viva La Vida” and “Lost!,” featuring Jay-Z, in 2008, and Dave Matthews Band with “I Did It,” “The Space Between” and “Everyday” in 2001.
Concurrently, “Nobody’s Soldier” ranks at No. 39 on Alternative Airplay, after reaching No. 37. On the all-rock-format, audience-based Rock & Alternative Airplay chart, it rises 23-22 with 1.4 million audience impressions, up 7%, in the week ending Oct. 24, according to Luminate.
“Nobody’s Soldier” debuted at its No. 16 best on the multimetric Hot Rock & Alternative Songs chart dated Aug. 31 following its release on Hozier’s EP Unaired. The song has also been appended to the deluxe edition of his 2023 album Unreal Unearth, with the latest edition – Unreal Unearth: Unending – due Dec. 6 as a three-LP deluxe edition and a one-LP companion version.
All Billboard charts dated Nov. 2 will update on Billboard.com Tuesday, Oct. 29.
With Billboard Hot 100 hits like “Hungry Like the Wolf,” “Union of the Snake,” “New Moon on Monday” and “A View to a Kill,” Duran Duran’s catalog is frighteningly fitting for spooky season. So in 2022, when the English quartet found itself playing a Halloween-night gig in Las Vegas ahead of its induction into the Rock & Roll Hall of Fame, the band decided to don costumes, sprinkle in seasonally appropriate covers and embrace the darkness.
The show was successful enough to inspire the band’s 2023 album, Danse Macabre, a top 10 hit on the Top Album Sales chart. With an expanded version of the album out now, the veterans — who have grossed $118.6 million and sold 1.8 million tickets since 1987, according to Billboard Boxscore — are set to play a show at New York’s Madison Square Garden on Oct. 31 that keyboardist Nick Rhodes promises “will be entirely different than any other Duran Duran show you will ever see.”
Is Halloween as big in the United Kingdom?
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We don’t celebrate it in such grand style as you do in America. I remember the first time I came to America was over the Halloween period. I literally thought, “Wow, they’re so far ahead of us. Why don’t we have these giant blow-up things outside our houses? Why can’t bats be 20 feet wide?” I love the sense of fun, the absurdity and that everybody gets to be a villain for a day.
The deluxe Danse Macabre has “New Moon (Dark Phase),” a moodier take on one of your classics; a cover of ELO’s “Evil Woman”; and “Masque of the Pink Death,” which I’m guessing is inspired by Edgar Allan Poe.
I’ve always been a great admirer [of Poe]. We grew up in England in the ’70s, where Hammer horror movies on [TV on] a Friday night, whether it was a Dracula or a mummy movie, were the thing you looked forward to all week. Plus, [I love] Tim Burton’s great contribution to everyone who loves goth. Those things shape the way you feel about life and the possibilities creatively. That’s what makes artists unique — their influences and the different areas they take from, even if it’s subliminal.
The Madison Square Garden show will be your second Halloween-themed concert. Do you see this becoming a tradition?
I don’t know. It’s a lot of work for one show. But Madison Square Garden just happened to be available, and New York is such a good place to be for Halloween. It was irresistible. We are going to make it something unusual and special. It won’t be like a regular show at all. The fans in Europe have been writing in already saying, “When are you going to do one in Europe? This is the second one in America; that’s not fair.” I sympathize with that. We always like to try to balance things, so maybe [we’ll do] one in Europe next year.
You have several other U.S. shows this fall beyond MSG. Will Halloween elements work their way into those?
I suspect some of them will feature a few bits that we’re preparing for Halloween. We didn’t think we’d be back in America this year, but when we decided to do the Halloween one, we slotted some more in. I rather like that way of working. For many years, we haven’t been a band that announces big world tours and ends up on the road for 18 months. But we do seem to play a lot of shows. We just add them when we want to, and somehow the chaos is working.
This story appears in the Oct. 26, 2024, issue of Billboard.
Yeah Yeah Yeahs’ “Maps” continues its recent dominance atop the TikTok Billboard Top 50 chart, reigning for a third straight week on the Oct. 26-dated tally.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Oct. 14-20. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Maps” – on the strength of two dominant TikTok trends, one a dance and the other using a filter to remove one’s facial features (more on that here) – and Alphaville’s “Forever Young” remain at Nos. 1 and 2; “Forever Young” is a previous No. 1 on the chart, having ruled the Oct. 5 survey, and the song hasn’t been below the top three since September.
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Despite the stagnant top two, there’s movement elsewhere in the top 10, paced by Akon’s “Akon’s Beautiful Day,” which zooms 8-3 in its second week on the chart.
Initially, the top clips using the song were from Akon himself, but the tune – released Oct. 4 after being teased on the platform previously – has since spread to hundreds of thousands of usages by other creators, ranging from sports-related videos, uploads about positivity and friendship, general-topic content and more.
Concurrently, “Akon’s Beautiful Day” debuts at No. 31 on Billboard’s Rhythmic Airplay chart. In the week ending Oct. 17, it earned 448,000 official U.S. streams, up 25%, according to Luminate.
It’s followed on the TikTok Billboard Top 50 by Aphex Twin’s “QKThr,” which completes a 19-week rise to the top 10 with an 11-4 bump. That’s the lengthiest amount of time from debut week to first time in the top 10 since the chart began in September 2023, eclipsing the 15 weeks Billie Eilish’s “Wildflower” took before hitting No. 7 last month.
“QKThr” debuted at No. 13 on the Feb. 10-dated list and bounced around the chart for five weeks before falling off, returning for its current run in July. Released in 2001 as part of Aphex Twin’s album Drukqs, its latest rise is tied to the “subtle foreshadowing” trend where users post clips of misfortune with what’s to come stitched in throughout the video.
FloyyMenor’s “Peligrosa” also reaches a new peak, moving 9-6. It’s his second top 10 on the chart, following the No. 5 peak of “Gata Only,” alongside Cris Mj, in April.
“Peligrosa,” which has risen as high as No. 19 on Billboard’s Hot Latin Songs chart earlier this month after being released in July, benefits from a dance trend alongside other high-performing uploads. It earned 2.8 million streams in the week ending Oct. 17.
The TikTok Billboard Top 50’s top 10 also sports a debut within its confines: Vines’ “Being Loved Isn’t the Same As Being Understood,” which bows at No. 8. Premiered in March, the song has exploded in popularity on TikTok due to a trend that’s usually presented as a photo collage meant to “sum up” the person represented, whether it’s themselves, a family member or a friend.
Though it’s not a 19-week trip like “QKThr,” Gigi Perez’s “Sailor Song” also completes a lengthy run to the top 10, jumping 24-10 in its ninth week on the chart. A variety of high-performing videos following loosely related trends, including one where people surprise their long-distance significant others in person.
“Sailor Song” rises to a new peak of No. 28 on the Billboard Hot 100, jumping 13% in streams to 13 million in the week ending Oct. 17.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
In 2024, the average merchandise campaign consists of 50 pieces of artwork that can easily be adapted for use on varied tour and direct-to-consumer items, says Matt Young, president of Bravado, Universal Music Group’s merch and brand management company. But for Olivia Rodrigo’s GUTS campaign, he says, “I think we’ve done at least 375 unique pieces of art.”Rodrigo’s singular vision for her first arena tour extended to the products sold at its kiosks. As the album rollout and tour details came together last year, the pop star coordinated with management, Bravado and label partners to ensure that each piece of merch “felt cohesive to the greater GUTS world,” says Michelle An, Interscope Geffen A&M president/head of creative strategy.
The number of items kept ballooning as Rodrigo leaned into the creative process, with a literally hands-on approach to identifying opportunities — from concocting mood boards to helping create color palettes to touching fabrics to ensure T-shirt quality. “This was Olivia saying, ‘I think this could be more. How do we do it?’ ” Young recalls.
Some highlights of Rodrigo’s GUTS merch line include unique jewelry (silver crescent moon rings and star necklaces, a nod to the tour’s set design), a butterfly design on tote bags and pool floats, an elastic bandage tin to store “vampire”-ready Band-Aids and, ahead of Netflix’s Oct. 29 release of her tour film, a set of five GUTS popcorn boxes, perfect for a premiere-night group hang. Along with the souvenirs that are now widely available at Rodrigo’s online shop, Young also points out that her various retail partners, ranging from global fashion chains to suburban Targets, also featured their own exclusive items: “The Zara in Europe has to have something different than the Hot Topic in the U.S.”
And just as Rodrigo ended each show sporting a tank top with a cheeky message customized for each city, every GUTS tour stop with multiple shows offered customized merch, including city-specific T-shirts and unique concert artwork designed in conjunction with local female artists. Rodrigo and Bravado approached the posters (shown below) as the ultimate collectible item — and once word got out about them early in the live run, fans started arriving to shows hours early to hit the merch booth.
“Is it logistically challenging? Sometimes, yes,” Young admits. “But it’s offset by the passion. You’re helping build a relationship with a fan in a way that they can’t really get anywhere else.”
This story appears in the Oct. 26, 2024, issue of Billboard.
At most huge pop tours, there’s a moment when shrieking fans reach a true fever pitch — when the lights dim right before the show begins, or when the intro to the artist’s biggest hit kicks in, or during the break before the encore. All of those happened at Olivia Rodrigo’s first arena tour — but her favorite part of the show was when those eardrum-rattling cries were, in fact, mad as hell.
“When we play ‘all-american bitch,’ ” Rodrigo tells Billboard, “there’s a part at the end of the song where I ask the audience to think about something that pisses them off and then tell them to scream about it when the lights go off.” On the opener to her 2023 album, GUTS, Rodrigo juxtaposes folksy, facetious calm in the verses with enraged pop-punk in the refrain as she lays out society’s double standards for young women before unleashing a piercing wail. For nearly a hundred nights this year, the singer-songwriter has closed her main set by adding her own scream to an arena already full of them. “It’s definitely cathartic for me,” she says, “and I hope it is for the audience as well.”
The same could be said of the entire GUTS tour, where Rodrigo’s fans worldwide found the space to release their pent-up energy, as well as their excitement about one of the decade’s biggest new superstars. After bursting into the spotlight in 2021 with her debut album, Sour, and its No. 1 smashes “drivers license” and “good 4 u,” the former Disney+ TV star won the Grammy Award for best new artist in 2022 and quickly ascended to pop’s A-list. Yet the 2022 tour supporting Sour primarily played theaters, had to navigate lingering COVID-19 concerns and catered to a limited number of international markets, as Rodrigo, then 19, found her sea legs as a live performer.
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Two years later, the rock-fueled GUTS became another commercial triumph: Lead single “vampire” also topped the Billboard Hot 100, and the album scored one of 2023’s 10 biggest debut weeks. And this time, Rodrigo was prepared for arena audiences. The GUTS tour featured more than double the number of dates as her Sour trek while traveling to four continents (South America will become the fifth in March 2025) and grossed $186.6 million, according to Billboard Boxscore — even with its 1.4 million tickets sold at an average price of $128.81, in line with price-conscious acts like Coldplay and P!nk, and less than that of several major pop arena shows.
As for the show itself, “I actually made GUTS with the concert in mind,” Rodrigo says. “It’s so much fun to play songs that are more driving and heavy. I had a great time performing that aspect of the show every night.” Here’s how it all went down.
In her dressing room backstage.
Sami Drasin
‘She Knew Exactly What It Was That She Wanted’
As GUTS came together, so did plans for an accompanying tour that amplified every aspect of Rodrigo’s previous live run — bigger venues, more countries — all guided by a more defined point of view from the superstar at its center.
Aleen Keshishian (co-manager, Lighthouse Management + Media founder/CEO): Olivia had creative tour ideas when she was still writing GUTS, even before we had signed a deal with Live Nation or hired anyone for the tour. She already had visual references, voice notes, images.
Zack Morgenroth (co-manager, Lighthouse Management + Media partner): That gave us a lot of time to plan, and put together the right team, and get the show right.
Jason Danter (tour production manager): I connected with Zack and Aleen in March 2023; at that point, I was deep into getting the Beyoncé [Renaissance] tour up and running. I met Olivia when she came to the Beyoncé show at SoFi Stadium [in Inglewood, Calif.].
Tarik Mikou (creative director, Moment Factory): We’ve been working with Olivia for a while — we did her first live TV performance [on Saturday Night Live] and did the Sour tour, so I was really happy to get a call back for the GUTS tour.
Melissa Garcia (choreographer): They called me in for the Sour tour, and Olivia and I really meshed. A trusting environment [and] being able to have back-and-forth conversations is so important, especially when it comes to movement and putting artists in vulnerable situations.
Jared Braverman (senior vp of touring, Live Nation): It was very clear from initial conversations that the goal of this tour was to be global — to get to markets that Olivia had never been to and continue to grow by not just focusing on major cities. [Olivia] is massive everywhere. That’s a challenging thing to navigate — making time and space for all of these markets.
Morgenroth: The Sour tour was her first time out on the road and was a huge underplay, given the success of the album.
Dave Tamaroff (partner, WME): Her last tour could have been in arenas, based on everything she had going on.
Michelle An (president/head of creative strategy, Interscope Geffen A&M): There were a lot of conversations about [arenas] on the last tour, and ultimately, Olivia was the final decision-maker — she felt like she needed to do the theater run to get to know the fans in a more intimate way.
Sami Drasin
Morgenroth: There was so much demand from fans this time around that Live Nation said to us that arenas now felt like an underplay — we probably could have done stadiums everywhere. That being said, there was so much preparation for an arena tour: choosing each venue, making sure we had a good cadence for her. We tended to do only four shows in a week and never three shows in a row.
Tamaroff: We were surgical in our approach to the routing.
Morgenroth: Olivia cares so deeply about the fan experience, and that was also so key in the pricing of the tickets, which could have been priced for so much more. Everything, from having the Silver Star program — where fans could get a limited number of tickets everywhere around the arena for something like $20 — to looking at the landscape of touring artists and trying to price our tickets somewhere in the middle of them, was very intentional.
Keshishian: [Silver Star] was something that Coldplay had first done with Live Nation. Jared Braverman suggested it and Olivia loved it.
Braverman: [Pricing] takes a level of restraint, where you look at what you can do versus what you should do. You’ve got a young audience that’s very connected to Olivia, and we wanted to make this tour accessible for them.
Keshishian: We spent a lot of money on this tour, [but] we were incredibly judicious, going over every single line item in the budget to make sure we were spending money on the things that mattered to Olivia.
Garcia: Olivia is the captain of the ship — right from the very beginning, she knew exactly what it was that she wanted.
Mikou: We had like, 15 meetings, in Zoom and in person. She had reference boards on Pinterest. She would show us an image and be like, “I would love something like that in the show,” and give us these leads.
An: We definitely wanted fans to get to know the album. It wasn’t straight from the album release [in September 2023] into the tour [which began in February 2024].
Heather Picchiottino (costume designer): Olivia’s songwriting progression from Sour to GUTS felt very raw and up-front, so we wove punk rock through [the tour’s production].
Olivia Rodrigo: I tried to make the concert feel like my own spin on a rock show. My dream was for people to jump and scream and be all sweaty by the end.
Mikou: When you get to the dress rehearsals and start seeing the ideas pushed forward — we knew we had something special with this show.
The band.
Sami Drasin
Sami Drasin
‘It’s So Much Bigger in Every Way’
When the GUTS tour kicked off at Acrisure Arena in Palm Springs, Calif., on Feb. 23, Rodrigo unveiled a multi-act, visually striking stage show with dancing, wailing guitars and even a giant, suspended crescent moon for her to sit on while circling the audience.
Daisy Spencer (touring guitarist): We rehearsed so much leading up to the kickoff. We were so ready and eager to finally perform the show in front of people who were hearing it for the first time.
Garcia: Instead of reaching a few thousand people, she was in a much larger environment — which puts a lot more pressure on her.
Keshishian: There’s no comparison between theaters and arenas, in terms of prep.
Spencer: It’s so much bigger in every way. The energy on the Sour tour was palpable, like we were beginning something very exciting and everyone in the room could feel it. But I couldn’t have ever imagined what the GUTS tour would be like.
Rodrigo: An arena feels wildly different than a theater to me.
Garcia: One of the big notes that I would say [to Olivia] was “Invite the audience in”: Open your chest up, allow them in. And she absolutely did that. Between the Sour tour and this tour, she is absolutely way more comfortable in her skin.
Picchiottino: Olivia had so many iconic looks on the Sour tour, and some of the detailing in them were bows or little ruffles or tulle fabric. We really contrasted that with GUTS, with references to punk rock through clean, ’90s, minimal silhouettes, made out of fabrics that were metal mesh jewelry as opposed to a tissue fabric.
Mikou: We worked on creating four acts in the show. We start really strong with an energetic vibe, but we also go into her vocal range early on with “vampire” and “drivers license.” And then in the second act, we embark on a visual journey with dancers.
The dancers.
Sami Drasin
Keshishian: In terms of choreography, she didn’t want it to feel like a traditional pop show where the dancers can sometimes overpower the music. I think the dancers are only in six numbers.
Danter: It’s primarily a younger audience that wants to see her and hear her, so it doesn’t have to be overly complicated visually.
Garcia: We wanted to create a visceral reaction from her fans, and for Olivia, a rock approach was extremely important, so she wasn’t quite sure if she wanted to use dancers. We came up with utilizing the dancers in a very unique way to match her creative intention.
Mikou: And then in the third act, she’s flying on the moon.
Keshishian: From the very first conversation we had with her, she said, “I’d love to fly on a moon over my audience.”
Mikou: We had about 60 stars all around to create this immersive vibe in the arena, and the moon was on a 260-foot linear flying track and was a light box as well.
Garcia: Riding around the venue on the moon — that was another way for her to feel like she really gave every single person her time.
Mikou: That act has these big visual moments, but it’s also really simple and elegant at times, like “making the bed,” where’s she rising alone on a lift, surrounded by fans and their iPhone lights.
Keshishian: And then you have these beautiful acoustic moments where she’s just with Daisy [who’s playing] guitar at the edge of the thrust, and it’s just about the lyrics and her voice.
Spencer: That was all Olivia’s idea, and I feel so honored to sit next to her while we all have a giant group therapy session together on “happier” and “favorite crime.” I’m almost on the verge of tears when we finish that section because it’s such a beautiful feeling to hear everyone singing along with us.
Mikou: We ended with the punk-rock vibe in the fourth act, exploding everything at the end with the full band and fire on the screens.
Picchiottino: I think my favorite moment is the start of act four, when the chaos comes into the show. Olivia enters in this red romper in this foil fabric, and with the color of the lighting, it just signals this incredible energy.
Mikou: My personal favorite moment is probably “obsessed.” She gets on the plexiglass and starts to look at her audience, but with the camera below [the stage, feeding into the arena screens], it’s just such a strong image. That’s Olivia 2.0: so rock’n’roll, so much guitar, so much attitude.
Danter: Olivia turned 21 a couple of days before opening night, and as somebody with such short touring experience, she’s very, very professional.
Sami Drasin
Sami Drasin
Keshishian: She gets to the venue every single day six hours early. She practices the piano, she does vocal warmups, she does cardio. She does her sound check before literally every show, even on multiple nights in the same venue, which very few artists do.
Danter: Most artists don’t get that discipline until they’ve got a number of tours under their belt. But by [the opener in] Palm Springs, we were all like, “We’ve got nothing to worry about here.”
Rodrigo: The first dozen shows or so, it was a big adjustment for me, energywise. I had to really learn how to look up and take in the space. You definitely perform differently when you’re performing to that many people.
Danter: And now she’s an arena headliner, and it’s as if she’s been doing it for a long, long time.
‘These Gatherings Have Become Like a Ritual’
As Rodrigo traveled North America in early spring, Europe before summer, North America (again) in July and August, and Asia in early fall, fans around the world learned about the tour’s unofficial dress code, viral moments, philanthropic goals — and the superstar-in-waiting who opened its first leg.
Keshishian: Tour support is something that we talked about very early on. The Sour tour had Gracie Abrams opening, and then Chappell Roan opened in San Francisco on the last Sour date in North America.
Remi Wolf (opener, GUTS European leg): I was told that Olivia very carefully curated the openers for the show, so it was a major deal when we got the original call.
Keshishian: Olivia has this incredible knowledge of and reverence for female artists, in particular people who paved the way for her, like Alanis Morissette and Sheryl Crow and Bikini Kill. Her mom introduced her to a lot of these artists, including The Breeders. I went with her to see them play at the Wiltern [in October 2023] and was so excited to meet Kim and Kelley [Deal] backstage, and they agreed to open for her in New York and L.A.
Kim Deal (singer-guitarist, The Breeders): [Olivia] has talked about how, you know, “The Breeders broke my mind — there was pre-‘Cannonball’ and there was post-‘Cannonball.’ ” And I think she likes loud guitars — in this day and age! She finds loud guitars exciting and wants to be around them.
Sami Drasin
Tamaroff: She did four shows [with The Breeders] in New York and six in Los Angeles, and she really could have done a dozen more, based on demand.
Morgenroth: [The openers] are, in part, a tribute to Olivia’s ear. She’s known Chappell for a while. She’s always thought she was an incredible artist.
Rodrigo: Having her on the first leg of the GUTS tour was so much fun. I’m inspired by her so much as an artist, but she’s also been such a good friend to me over the years and she really helped me through some of the more stressful parts of the tour.
Braverman: We all knew what a talented artist and great performer [Chappell] is and hoped that fans would be as excited as we all were for her to be joining on these shows. The initial response was positive, but it wasn’t until the tour got underway that we started to see a shift that literally grew more each and every show.
Keshishian: Chappell was a surprise guest in L.A. [in August, after opening for the tour in February and March]. People asked us if we were going to have guest performers at all six shows in L.A., and we didn’t feel that we needed surprises just for the sake of it. But having Chappell come back and seeing her perform in front of Olivia’s audience after all this time, after so much had happened [in her own career]? It was really fun.
Rodrigo: It’s been incredible to watch her get the recognition she so rightfully deserves. She’s just further proof that being unapologetically yourself always pays off.
Morgenroth: From the moment people arrived at the show, we wanted them to have a great experience, and that’s everything from the merch, where things were customized for each city, to activations outside on the [concourse] and outside of the venue, like the interactive tour bus that we put together with Interscope and partners like American Express.
An: As we continued putting out singles and videos from the album [before the tour], fans got a better idea of what to wear and how to style themselves, and then they all connected by the time the tour came.
Keshishian: It became a really fun night for fans to get dressed up in creative outfits that Olivia inspired.
Garcia: Olivia has created a very unique vocabulary, and I think that’s why songs like “love is embarrassing” became so large on social media, with people trying to learn the dance from the show.
Keshishian: Her “love is embarrassing” dance went viral, and all these kids were doing the dance with the little “L” on the forehead.
Morgenroth: There was this viral TikTok trend, “Am I Too Old To Be Here?,” that would be used at the shows because there were so many people of different ages attending. And then we have this “Dad Idea, Right?” moment, where the kids get a kick out of how many dads are enjoying the show.
Keshishian: In every city, she wore a different tank top [during the encore] that had these cheeky jokes about the city, like “Phuket, It’s Fine” in Bangkok or “Bad Idea, Innit?” in London.
Picchiottino: That was Olivia’s idea: “How fun would it be to have a new slogan for each city and make each show feel special?”
An: I think for the Livies, these gatherings have become like a ritual. They can scream at the top of their lungs about what’s bothering them and be a little more alternative or punk, but at the same time be feminine and girlie. You just see everything that Olivia stands for being celebrated.
Fans turn out in their GUTS best.
Sami Drasin
Sami Drasin
Keshishian: Before the tour began, it was important to Olivia to add a charitable component and do something that would have a lasting impact after the tour was over. That became the Fund 4 Good, and it was focused on what is important to her, which is helping women and girls. We vetted each organization in every country that Olivia toured in, and we wanted to have a very localized impact because obviously women in different countries have different needs.
Rodrigo: Being on tour [so soon] after Roe v. Wade got overturned made activism very important — especially considering I performed in many states that currently have abortion bans in place, I wanted to do everything I could to support organizations in each territory that are doing essential work in providing access to health care and other human rights.
Morgenroth: We’ve tied it beyond the tour already — she did an Erewhon smoothie, and all of the proceeds from her side were given to the fund. This is something that is going to be part of everything from here on out.
Keshishian: Olivia performed in the Philippines for the first time in October — which was a dream of hers, as a Filipino American — and she wanted to do it as a gift, so all net proceeds will go to a local charity [women’s health care organization Jhpiego] through the Fund 4 Good.
Rodrigo: Through the fund, I’ve met lots of incredible people who are making such positive changes in the world, and I’ve learned so much. I look forward to learning more and continuing to champion causes I care about.
‘She’s Revealing Another Side of Herself’
As Rodrigo wrapped the GUTS 2024 run and prepares for the Oct. 29 release of its Netflix tour film, she has snapped into focus as a new-school arena rock performer with a fastidious streak.
Danter: When you get to rehearsals and everything starts to fall into place, a lot of artists and managers go, “OK, this is the show.” As we got closer to opening night, we were still getting notes from Olivia, Zack and Aleen. It’s that search for perfection, which is refreshing.
Garcia: There was that younger vibe about her on the Sour tour, a little sillier, and on the GUTS tour, she definitely is thinking more and every detail matters more, no matter how microscopic.
Picchiottino: I’ve really enjoyed the process of refining and refining, being so specific about the tour visuals. I think I have over 60 sketches on my iPad, for five looks.
An: You could really feel that she was more confident this go-round because she understood how things worked and knew what conversations to have. She was the boss of this.
Mikou: The evolution from the last tour, it’s almost like she’s revealing another side of herself.
Sami Drasin
Braverman: In a lot of ways, it’s like a throwback rock show. I don’t think a lot of these fans had experienced anything like that.
Keshishian: Most of the band was on the Sour tour, and every member is female or nonbinary. So for all these people watching, to see them rocking out in an arena, I think it’s really powerful.
Deal: She’s very respectful of the younger members of her audience — she knows they’re there, she’s very sweet with them, and she does not talk down to them at all. There are some cusswords and there are some loud guitars, and she expects them to be where she is. And I thought that was very cool.
Keshishian: Regarding the film, there are tens of millions of people that did not get tickets to this show, and we wanted to make sure that all of Olivia’s fans had the ability to see it. So we set up 22 cameras for the last two L.A. shows, and we chose Netflix to be our partner because they have the largest global reach.
Tamaroff: Watching her prove who she is as a global superstar… she’s one of the most talented singer-songwriters on the planet already, but being able to showcase her talent as a performer, hearing people say that this was one of the best nights of their lives, that’s why we all do what we do.
Garcia: With age comes a little bit more pressure, and I think it’s coming from herself: to be better, to figure out the next challenge for herself, to see where she can break through next. She just keeps growing.
Rodrigo: I wanted to make sure that I could still connect with the audience, even in a venue as big as an arena.
Rodrigo will be honored as 2024 Touring Artist of the Year at the Billboard Live Music Summit & Awards in Los Angeles on Nov. 14.
This story appears in the Oct. 26, 2024, issue of Billboard.
At most huge pop tours, there’s a moment when shrieking fans reach a true fever pitch — when the lights dim right before the show begins, or when the intro to the artist’s biggest hit kicks in, or during the break before the encore. All of those happened at Olivia Rodrigo’s first arena tour — […]
The 2025 Sonic Temple Art & Music Festival will feature headliners Korn, Metallica and Linkin Park. The four-day event slated to take place a the historic Crew Stadium in Columbus, OH from May 8-11 will also have sets from more than 100 other bands, including: Incubus, Rob Zombie, Sevendust, Alice Cooper, I Prevail, Alice in Chains, Chevelle, Mastodon, Ice Nine Kills, Corrosion of Conformity, Testament and more.
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As previously announced, Metallica will close out two nights of the festival — headlining on the 9th and 11th — where they will play two distinct sets with no songs repeated. Korn will top the bill on May 8, with the new-look LP featuring singer Emily Armstrong doing the honors on May 10. There will also be a couple of reunions on the roster, including Crossfade’s first show since 2011, as well as the first gig from sludge metal band Acid Bath in 28 years and Three Days Grace performing with original vocalist Adam Gontier for the first time since 2013.
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Other bands performing at the 2025 fest include: Alien Ant Farm, Orgy, Exodus, Overkill, Hoobastank, Sick Puppies, Quicksand, Cavalera, Motionless in White, Caskets, Suicidal Tendencies, Deafheaven, Jimmy Eat World, Escape the Fate, Hollywood Undead, Asking Alexandria, From Ashes to New, Killswitch Engage, Jinjer, Cannibal Corpse, Hatebreed, Grandson and many more.
The event will also mark the U.S. festival debut of System of a Down bassist Shave Odadjian’s new band, Seven Hours After Violet. Click here for details on ticket packages.
Check out the full poster for the 2025 Sonic Temple Festival below.
Iron Maiden paid tribute to one of their own on Tuesday night (Oct. 22) during a show at the Xcel Energy Center in St. Paul, MN. During the show, singer Bruce Dickinson marked the passing of the band’s original lead singer, Paul Di’Anno, who died on Monday at 66 of undisclosed causes.
“I don’t wanna put a downer on proceedings at all,” Dickinson said in a video posted by a fan, “[but] our friend, our band member, Paul Di’Anno, passed away, as you’re probably aware. If you’re not aware of that fact, you are now.” Dickinson — who took over from Di’Anno after the late singer fronted the band on their self-titled 1980 debut and it’s 1981 follow-up, Killers — praised his predecessor for being “instrumental” on the band’s first two albums, calling his work “groundbreaking” on Killers and the debut LP and possessed of what he dubbed an “amazing voice.”
“Devoted to rock n’ roll right up til the last minute of his life,” Dickinson said of the singer who had taken to performing in a wheelchair during his final years due to a variety of health issues. As fans clapped, cheered and yelled “we love you Paul!,” Dickinson paid tribute to D’Anno and asked the audience to keep him in their thoughts.
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“For those of you who were born and still remember those early albums, and those of you who were fans of [Di’Anno’s post-Maiden band] Battlezone and his own projects he did afterwards, and for anybody else that fancies having a listen to tracks like ‘Remember Tomorrow’ and stuff like that, I’m just gonna ask everybody to take a few seconds,” he said holding up his right hand. “Close your eyes in silence and say — just internally, mentally — if you believe in God, if you don’t believe in God, it doesn’t matter, believe in what you believe in and say, ‘Thanks boss, for doing what you did.’”
He ended with a final goodbye. “So, Paul, if you’re listening, this is a little message from Minneapolis to wherever you are, upstairs or downstairs, you’re having fun! Minneapolis, for Paul Di’Anno, scream for me!”
Di’Anno’s label announced on Monday that he’d died from undisclosed causes at his home in Salisbury, U.K. After helping to cement the British metal band’s signature mix of prog, punk and hard rock from 1978-1981, Di’Anno recorded a number of solo albums, as well as LPs with the band Di’Anno’s Battlezone, Gogmagog, Killers, Praying Matins, Rockfellas and more.
Maiden issued a statement honoring Di’Anno on Monday, writing, “We are all deeply saddened to learn about the passing of Paul Di’Anno earlier today. Paul’s contribution to Iron Maiden was immense and helped set us on the path we have been travelling as a band for almost five decades. His pioneering presence as a frontman and vocalist, both on stage and on our first two albums, will be very fondly remembered not just by us, but by fans around the world.”